THE FIRE BEGAN TO LICK AT THE PEWS AS smoke filled the nave with darkness. Four figures dressed in black hurried toward a lateral chapel. A fifth man, humbly dressed, hovering in a doorway near the high altar, wrung his hands. The high wail of sirens reached a crescendo outside-fire trucks responding to the alarm. In a matter of seconds firefighters would burst into the cathedral, and that meant another failure. The man rushed down from the altar, motioning his brothers to come to him. One of them kept running toward the chapel, while the others shrank back from the fire that was beginning to surround them. Time had run out. The fire had come out of nowhere and progressed faster than they'd calculated. The man trying so desperately to fulfill their mission was enveloped in flames. He writhed as the fire consumed his clothes, his skin, but somehow he found the strength to pull off the hood that concealed his face. The others tried to reach him, to beat back the flames, but the fire was everywhere, and the cathedral doors began to buckle as the firefighters battered against them. Their brother burned without a scream, without a sound.

They retreated then and raced behind their guide to a side door, slipping outside at the same instant the water from the fire hoses poured into the cathedral. They never saw the man hiding among the shadows of one of the pulpits, a silencer-equipped pistol at his side.

Once they were gone, he came down from the pulpit, touched a spring hidden in the wall, and disappeared.

Marco Valoni took a drag off his cigarette, and the smoke mixed in his lungs with the smoke from the fire. He'd come outside for fresh air while the firefighters finished putting out the embers that were still glowing in and around the right side of the high altar.

The piazza was closed off with police blockades, and the carabinieri were holding back the curious and the concerned, all craning their necks to try to see what had happened in the cathedral. At that hour of the evening, Turin was a beehive of people desperate to learn whether the Holy Shroud had been damaged.

Marco had asked the reporters covering the fire to try to keep the crowds calm: The shroud had been unscathed. What he hadn't told them was that someone had died in the flames. He still didn't know who.

Another fire. Fire seemed to plague the old cathedral. But Marco didn't believe in coincidences, and the Turin Cathedral was a place where too many accidents happened: robbery attempts and, within recent memory, three fires. In the first one, which occurred after the Second World War, investigators had found the bodies of two men incinerated by the flames. The autopsy determined that they were both about twenty-five and that, despite the fire, they had been killed by gunshot. And last, a truly gruesome finding: Their tongues had been surgically cut out. But why? And who had shot them? No one had ever been able to find out. The case was still open, but it had gone cold.

Neither the faithful nor the general public knew that the shroud had spent long periods of time outside the cathedral over the last hundred years. Maybe that was why it had been spared the consequences of so many accidents.

A vault in the Banco Nazionale had been the shroud's place of safekeeping. The relic was taken out of it only to be displayed on special occasions, and then only under the strictest security. But despite all the security, the shroud had been exposed to danger-real danger-more than once. It had been moved back to the cathedral only days ago, in preparation for the unveiling of extensive refurbishments.

Marco still remembered the fire of April 12, 1997. How could he forget, since it was the same night-or early morning-he'd been celebrating his retirement with his colleagues in the Art Crimes Department.

He was fifty then, and he'd just been through open-heart surgery. Two heart attacks and a life-or-death operation had finally persuaded him to listen when Giorgio Marchesi, his brother-in-law and cardiologist, advised him to devote himself to the dolcefar niente, or, at the least, put in for a nice quiet bureaucratic position, one of those jobs where he could spend his time reading the newspaper and taking midmorning breaks for cappuccino in some nearby cafe.

Paola had insisted that he retire; she sugared the pill by reminding him that he had gone as high in the Art Crimes Department as he could go-he was the director-and that he could honorably end a brilliant career and devote himself to enjoying life. But he had resisted. He'd rather go into some office-any office-every day than to turn into fifty-year-old retired jetsam washed up on some beach somewhere. Even so, he'd resigned his position as director of the Art Crimes Department, and the night before the fire, despite Paola's and Giorgio's protests, he'd gone out to dinner with his friends. By daybreak they were still drinking. These were the same people he'd been working with for fourteen, fifteen hours a day for the last twenty years, tracking down the mafias that trafficked in artworks, unmasking forgeries, and protecting, so far as was humanly possible, Italy's artistic heritage.

The Art Crimes Department was a special agency under both the Ministry of the Interior and the Ministry of Culture. It was a unique collection of police officers mixed with a good number of archaeologists, historians, experts in medieval art, modern art, religious art… He had given it the best years of his life.

It had not been easy to climb the ladder of success. His father had worked in a gas station; his mother was a homemaker. They had just scraped by, and he'd managed to attend the university thanks only to scholarships. But his mother had pleaded with him to find a good, secure job, one with the state, and he had given in to her wishes. A friend of his father's, a policeman who regularly stopped to fill up at the gas station, helped him with the entrance tests for the carabinieri. Marco took them and passed them, but he wasn't cut out to be a cop, so he continued his studies at night, after work, and eventually managed to earn a degree in history. The first thing he did when he got his degree was request a transfer to the Art Crimes Department. He combined his two specialties, history and police work, and little by little, working hard and taking advantage of breaks when they came his way, he rose through the ranks to the top. How he'd enjoyed traveling through Italy, experiencing its treasures firsthand and getting to know other countries, too, as his career progressed!

He had met Paola at the University of Rome. She was studying medieval art; it was love at first sight, and within months they were married. They'd been together for twenty-five years; they had two children and were truly happy together.

Paola taught at the university, and she had never expressed any resentment at how little time he spent at home. Only once had they had a really big fight. It was when he returned from Turin that spring of 1997, after the cathedral fire, and told her he was not retiring after all, but not to worry because he would redefine his job as director. He would embrace bureaucracy. He wasn't going to be traveling anymore or out in the field doing investigations-he was just going to be a bureaucrat.

Giorgio, his doctor, told him he was crazy. But the men and women he worked with were delighted.

It was the fire in the cathedral that had changed his mind about staying. He was convinced that it hadn't been accidental, no matter how often he told the press it was.

And now here he was, investigating another fire in the Turin Cathedral. Less than two years ago he'd been called in to investigate another robbery attempt, one of many over the years. The thief had been caught almost by accident. Although it was true he hadn't had any cathedral property on him, it was surely just because he hadn't had time to pull off the job. Artworks and other objects near the shroud's casket were in disarray. A priest passing by just then saw a man running, apparently scared off by the sound of the alarm, which was louder than the cathedral's bells. The priest ran after him, yelling, "Fermati, ladrol Fermati!"-"Stop, thief! Stop!"-and two young men passing by had tackled him and held him until the police arrived. The thief had no tongue; it had been surgically removed. Nor did he have any fingerprints; the tips of his fingers were scarred over from burns. The thief, so far as the investigation was concerned, was a man without a country, without a name, and he was now rotting in the Turin jail. He'd remained obdurate and unresponsive through interrogation after interrogation. They'd never managed to get anything out of him.